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From the Director
Looking to the future
Dear Members,
Managing through an economic downturn, especially one this
severe, presents immediate challenges, and there is an under-
standable tendency to focus on short-term decisions. How can
we balance this year's budget, or deal with a reduction in annual
contributions, or find the resources to sustain this program or
that exhibition? We are dealing methodically with the effects the
recession has had on our budget by rigorously reducing expenses
and focusing on ways to increase earned and contributed income.
However important such pressing issues may be, during times
like these it is even more important—in practice and policy—to
look to the future and ask if today's decisions are informed by a
clear understanding of the museum's mission, an appreciation of
the needs of its community, and a shared set of priorities of what
matters most. For this reason, it is important to note that the
process of strategic planning in which the staff and trustees of the
museum are now engaged is both timely and enormously useful.
Although this work is not yet complete, we are far enough
along to be able to share with you the broad outlines of the strate-
gic plan that is emerging from these discussions. It will focus on
four key goals: civic engagement, the centrality of the museum’s
collection to every aspect of our work, the opportunity to create
exhibitions and programs that will forge a stronger connection
with our visitors, and, finally, our obligation to be responsible
stewards of the resources with which we have been entrusted.
In the coming years, it is likely that our budget will be smaller
than we had hoped for. Even so, we intend to serve our commu-
nity and continue to present the superb exhibitions and programs
that have made this institution such an important center for the
study and enjoyment of the visual arts.
Despite these challenges, I want to underscore that our mission
has never been more critical and to say that any changes we make
now will be made with the objective of fulfilling it more effective-
ly. Meanwhile, our renovation and expansion will move forward.
It is critically important to the future of this institution and to
the vitality of our city and region. This work is funded separately
from our general operating budget, and over 60 percent of funds
needed for this purpose have already been raised to date.
Thanks again for your support and for your belief in the value
of the Cleveland Museum of Art to this community.
Sinečrely,
Timothy Rub
Director
July/August 2009 2 www.clevelandart.org
What's Happening
Sherman Lee Exhibition Events
Keynote Address
Saturday, June 27, 5:00. Marc F.
Wilson, director of the Nelson-Atkins
Museum of Art.
Retired CMA director Katharine Lee
Reid, Sherman Lee’s daughter, offers
introductory remarks.
Asian Art Conversations
Sunday, June 28, 2:30-5:00. Conver-
sations with the exhibition curators.
Presented to celebrate the opening
of Streams and Mountains Without
End: Asian Art and the Legacy of
Sherman E. Lee at the Cleveland
Museum of Art, June 27-August 23.
East Wing Opening Events
From curator’s lectures and appear-
ances by contemporary artists to
storytelling and do-it-yourself trea-
sure hunts, the museum has come up
with a wide variety of ways to help
you learn more about the art in the
new east wing. See pages 12 and 13
for complete details.
Cleveland Art: The Cleveland
Museum of Art Members Magazine
(ISSN 1554-2254)
Vol. 49 no. 6, July/August 2009
Published monthly except June and
August by the Cleveland Museum
of Art at Cleveland, Ohio 44106.
POSTMASTER: Send address changes
to Cleveland Art: The Cleveland
Museum of Art Members Magazine at
the Cleveland Museum of Art,
Cleveland, Ohio 44106. Subscription
included in membership fee. Periodi-
cals postage paid at Cleveland, Ohio.
Amy Bracken Sparks,
Assistant Editor, Publications
Was Sherman Lee Ever Wrong?
The museum’s legendary director possessed a keen eye
and nearly infallible instincts
Imagine a crowded marketplace awash in color and sound, reek-
ing of spices, reeling with people, glinting with new wares. On
Aine T a small side street on the opposite side of the city is a shop full
Legacy of Sherman E. Lee at the of antiquities and art considered unpopular at the time. This is
Cleveland Museum of Art where Sherman Lee is. Was. In this scenario he is accompanied
by a scholar. He asks the dealer many questions. He asks to see
what’s in the back room, knowing that treasures may lurk there.
He asks the dealer for more examples, things the dealer may have
saved for himself, or for someone else. Or he spies an object high
on a shelf that with a little cleaning might be something quite
EXHIBITION
Streams and Mountains With-
June 27—August 23
The legacy of the great direc-
tor as seen through major
works of Asian art he ac-
quired during his 25-year ten-
ure at the helm of the CMA. special.
Mn ar eee This is how Lee quietly went about building an astounding
for education and publi has b i
a poenam MD collection for the Cleveland Museum of Art: by buying against
Museum of Art. the market, following bis instincts, and exercising his voracious
HAHN @LOESER appetite for knowledge.
But Lee was much more than an astute buyer with a good
eye. He had firm and surprising views on what art museums
3 www.clevelandart.org
Watanabe Kazan (Japanese, 1793-
1841). Portrait of Ozora Buzaemon,
1827. Hanging scroll; ink and color
on paper. Leonard C. Hanna Jr. Fund
1980.177
July/August 2009
should—and should not—be. He equated art museums with
wilderness areas. He contradicted himself. He was an elitist with
populist ideals. He was obstinate. He eventually became the
authority he taught others to question. “Was Sherman Lee ever
wrong?” asks Howard Rogers, owner of the Kaikodo Gallery in
New York. “Probably, but he would not agree.”
Lee was admittedly conservative in the purest meaning of that
word: conserve the past. The way to do this, for him, was through
objects. But the objects were empty human gestures without the
contexts in which they were made; that is, every object has a nar-
rative. He loved a good story. He is a good story.
Sherman E. Lee (1918-2008) left the building in 1983, and left
us mortal beings last year at the age of 90. Building the museum’s
Asian collection alone would have cemented his reputation, but he
did much more than that: he turned a regional museum into an
institution of global importance.
If he had believed in such things, which he emphatically did
not, he might have said the stars aligned for him and the museum
in 1958, the year he was made director, the same year that the be-
quest of Leonard C. Hanna Jr. (1889-1957) gave the museum more
than $33 million, half of it to be used solely for acquisitions. Cur-
rent CMA director Timothy Rub uses a single, somewhat modest
word to describe this confluence of events: “serendipitous.”
Although the Hanna bequest enabled Lee to acquire artworks
beyond the reach of most museums, he didn’t equate value with
price. If it was beautiful (a controversial term these days), if it was
singular, if it needed to be preserved, and if it met his standards, it
deserved acquisition.
Lee was fond of saying, “News is not history, fashion is not
taste, and opinion is not judgment.” Evidence for this is apparent
in the exhibition Streams and Mountains Without End: Asian Art
and the Legacy of Sherman E. Lee at the Cleveland Museum of Art, a
show of 50 Asian masterworks acquired by Lee and co-curated by
James T. Ulak, deputy director of the Freer and Sackler galleries at
the Smithsonian; Stanislaw Czuma, CMA curator emeritus of In-
dian and Southeast Asian art; and Anita Chung, CMA curator of
Chinese art. It opens concurrently with the new east wing housing
the European and American modern and contemporary galleries.
“The exceptional quality of the objects acquired under [Lee’s]
tenure reflects his view that art was the focal point of the muse-
um—a view not always upheld by the art museums of today,” says
Czuma.
The exhibition’s title comes from one of these exceptional ob-
jects: Streams and Mountains Without End, a Chinese handscroll
from the 12th century. Of course there is a story. In the early
1950s, a dealer offered Lee a painting attributed to Yan Wengui, a
noted 10th-century artist. Lee said no, basing his decision on
“stylistic grounds.” Humiliated, the dealer offered Lee Streams
and Mountains, now a recognized masterpiece from a period in
Chinese art “from which no further works are likely today to
emerge from obscurity,” according to Howard Rogers.
But viewers need not even step inside the museum to under-
stand part of Lee’s legacy. He made the unpopular decision to
Thangka of Green Tara, c. 1260s.
Tibet. Color on cloth. Purchase from
the J. H. Wade Fund by exchange,
from the Doris Wiener Gallery
1970.156
reinstall Rodin’s Thinker—damaged by a bomb on March 24,
1970—in its unrepaired state, citing “Rodin’s own attitude to-
ward chance and accident when these affected his own clay and
wax models—let the event remain as a part of the making of
the work.” Also, we might add, the event has passed from news
into history, and history calls out to be preserved.
The following year Lee laid the cornerstone of CMA’s 1971
wing designed by noted architect Marcel Breuer. He considered
this the greatest piece of contemporary art that he acquired. If
Lee was beyond reproach in many areas of collecting and con-
noisseurship, his attitude toward contemporary art was the
least understood. For those of us outside the museum who were
hungry for it to “catch up” and exhibit cutting-edge contempo-
rary art, Lee was enigmatic, if not downright stubborn.
His aversion was not as simple as that of a man of an older
generation disgusted with the art of young artists. He may not
have seen the beauty he sought elsewhere, but beyond that, he
did not see contemporary art as endangered. It did not, as yet,
need to be saved. “Once we admit the precedence of preserva-
tion,” he said, “we are largely committed to the past.”
Like the many objects he acquired, Lee was of a specific time
and place that will never be repeated. He was one of the few
Americans to tour China before the Cultural Revolution, to
view hidden collections of Japanese art before they were seen
by the Japanese public, to be an Asian scholar without know-
ing Mandarin or Japanese, to be director of a museum when
museums were not expected to be lightning rods for economic
development, to be the director of a museum before the inven-
tion of marketing, to be deeply involved with the past while the
present was raging right outside the front door.
Beyond Lee’s tangible and quantifiable achievements is
something more ephemeral. To paraphrase him: “After seeing a
real work of art one cannot look upon the world” the same way
again. m=
Once.
In a history of the museum
published in 1991 Sherman Lee
reported a rare misstep, when
the conservation lab proved that
“the much-heralded Matthias
Grūnewald St. Catherine bought
in 1974 was a recent forgery. The
initial suspicions of a distinguished
visitor, Konrad Oberhuber, set
the director and the staff to soul-
searching and reexamination
leading to strong doubts about
the picture on the grounds of
connoisseurship alone. We had
the doubtful privilege of first an-
nouncing the grievous error. Here
wishful thinking was the seductive
motive—the splendid group of
German works of art and paint-
ings, begun by William Milliken,
would have been fitly crowned by
a Grūnewald; we had ‘discovered’
Hans Holbein the Younger’s Ter-
minus, The Device of Erasmus of
Rotterdam (1971.166), why not an
even rarer find? As aptly noted by
Guglielmo Ferrero in the 19th cen-
tury, ‘What makes good judgment?
Experience! What makes experi-
ence? Bad judgment.” —Object
Lessons: Cleveland Creates an Art
Museum, edited by Evan H. Turner
(Cleveland, 1991, p. 174)
www.clevelandart.org
Sue Schieman, Assistant =
Director of Public Affairs C | a ra Ra n ki n
A longtime friend of the museum recalls working with
Sherman Lee
It seemed fitting that, as museum life trustee Clara Rankin remi-
nisced recently about Sherman Lee, four blooming cherry trees
were visible through her living room windows. In Asian cultures
cherry blossoms are an omen of good fortune—and in Clara's
opinion, it was the Cleveland Museum of Art’s good fortune to
have had Sherman Lee at its helm for nearly 25 years.
Although the museum acquired dozens of old master paintings
during Lee’s tenure, he is most notably remembered for assem-
bling a superb Asian collection. Serving in the Navy during World
War II and from 1946 to 1948 as a civilian in Tokyo, he cataloged
Japanese artwork. This knowledge served him later as he traveled
to purchase works for the museum and private collectors. “He had
gotten to know what and where the great treasures were, hidden
from public view,” she says. “Lee was astute and forward think-
ing as he advised others, such as Greta Millikin, to pursue specific
pieces for their personal collections, knowing that in many cases,
the works would later be given to the museum and augment, rath-
| er than duplicate, what the museum already owned.”
| Clara Rankin has been closely associated with the museum for
| over 50 years. She grew up in a home where music was a signifi-
cant part of family life. Her father, Frank E. Taplin Sr., a success-
ful businessman, was an early supporter of the Cleveland Institute
| | of Music, and her brother Frank Jr. an accomplished pianist. Clara
| took voice lessons at CIM, but as a young child she also enjoyed
art classes. After high school, she went on to earn a degree in his-
| tory at Smith College.
| Joining the Womens Council of the Cleveland Museum of Art
| | in 1950 renewed her interest in the visual arts. She and her hus-
band, Alfred M. Rankin, had begun collecting pre-Columbian art,
| but with the arrival of Lee in 1952, her interest in Asian art grew.
In one early encounter with Lee, she surprised him by reciting
| from memory all the Chinese dynasties. “He presented such an
| enormous opportunity for me, inspiring me to learn as much as |
| could. I couldn't have been exposed to the beauty of Asian art and
| culture in any better way than through Sherman’s mentorship.”
Her involvement at the museum continued to expand. “For me,
it was the epitome when I was asked in 1967 to join the museum’s
board of trustees. It was so exciting.” And now it gives her enor-
mous pleasure that her eldest son, Alfred M. Rankin Jr., is the cur-
rent board president. “How can I be more lucky?”
In recognition of Clara and her family’s long and generous sup-
port of the museum and the Campaign for the Cleveland Museum
of Art, the galleries of Chinese art in the new west wing will be
named in her honor. m=
July/August 2009 6
= Lee's Other Legacy
Chief Curator
Sherman Lee also brought European and American
masterworks to Cleveland
Frederic Edwin Church (American,
1826-1900). Twilight in the Wilder-
ness, 1860. Oil on canvas. Mr. and
Mrs. William Marlatt Fund 1965.233
In 1957, the transformative gift of a longtime Cleveland trustee,
Leonard C. Hanna Jr., created a giant of an acquisitions fund to-
taling more than $33 million. But it was the accession of
Sherman E. Lee as director that gave the infant giant a brain to
match its strength, allowing the museum to join the ranks of the
most astute of the world’s collecting institutions as well as the
most powerful. The current exhibition, Streams and Mountains
Without End, celebrates this legacy by showcasing some of Lee’s
most important acquisitions of Asian art. Yet, despite Asia’s geo-
graphical extent (almost one-third of the world’s land area) and
the comparable breadth of Lee’s scholarship in Asian art, any
celebration of his achievements would be incomplete without con-
sidering the impact of his acquisitions of European and American
art. Today, visitors to the galleries in the 1916 building and the
recently opened east wing can revel in the fruits of Lee’s remark-
able legacy, commemorated in works by such artists as Frederic
Edwin Church, Caravaggio, Jacques Louis David, Claude Monet,
Pablo Picasso, Nicolas Poussin, and Diego de Velazquez, to name
only a few.
Though Hanna’s endowment was indispensable to Lee’s work
as director, it was the combination of Lee’s rare intellectual and
visual acuity, honed over years of looking at art, that produced
such remarkable results for Cleveland. Recognizing the strength
of the museum’s holdings of Impressionist and post-Impressionist
7 | www.clevelandart.org
Juste-Aurėle Meissonnier (French,
1695-1750). Tureen and Platter,
1715-16. Silver. Leonard C. Hanna Jr.
Fund 1977.182
Pablo Picasso (Spanish, 1881-1973).
Harlequin with Violin (Si Tu Veux),
1918. Oil on canvas. Leonard C. Hanna
Jr. Fund 1975.2
July/August 2009
art, Lee focused on growing the collection forward and back-
ward, devoting nearly half of the museum’s acquisition resources
to purchases of American and European painting. During the
first year of his directorship, he purchased Pablo Picasso’s The
Harem (1958.45), and jumped again at the opportunity to pur-
chase Picasso’s Harlequin with a Violin (1975.2). Lee’s purchase
of Frederic Edwin Church’s Twilight in the Wilderness (1965.233),
a painting he first saw in the conservation studio at Harvard’s
Fogg Art Museum, added a magisterial keystone to an already
strong American painting collection.
Lee’s success in collecting relied on a mixture of knowledge,
experience, and partnerships, especially those between museum
professionals and dealers. As he acknowledged: “The art market
has been overglamorized. It’s hard work. It requires good rela-
tionships, a good eye; you've got to know market prices. You've
got to deal with all sorts of people.” When Velazquez’s Portrait
of the Jester Calabazas (1965.15) appeared at auction in London,
experts debated the painting’s authorship. Lee compared the
brushwork of a small section of the painting with known
Velazquez pictures in Madrid. Convinced that the work could be
securely attributed to the painter, he won it at auction for one-
third of the price he was authorized to spend.
Thanks to his disciplined preparations, connections, and
broad knowledge, Lee added works of international signifi-
cance to the collection with astounding regularity. In addition
to prime works by such painters as Caravaggio and Poussin, he
acquired comparably important furniture, metalwork, ceramics,
and other decorative objects, which he valued as major achieve-
ments in their own right, such as the tureen (1977.182) designed
by Juste-Auréle Meissonnier and crafted by Henry Adnet and
Pierre-Francois Bonnestrenne.
In the galleries of European and American art, visitors can
experience the other half of the brilliant legacy represented by
Streams and Mountains Without End, formed by Lee’s commit-
ment to assemble a collection devoted to the highest achieve-
ments of humankind, from across the globe. m=
Gregory M. Donley,
Magazine Staff
Gauguin's Volpini Suite
It's all there in black and yellow
ABOVE: A woman appears in the
waves in this detail from the Volpini
Suite and then reappears in the mu-
seum’s Paul Gauguin painting, /n the
Waves, 1889 (Gift of Mr. and Mrs.
William Powell Jones 1978.63).
RIGHT: Heather Lemonedes
examines the zincographs in the
museum’s print study room.
For many artists, a particular event or body of work signals an
“arrival on the scene.” For Paul Gauguin, that event was a café
exhibition staged in conjunction with (but not in cooperation
with) the Paris Exposition Universelle of 1889, and the seminal
group of works was the Volpini Suite, a striking group of 11 zin-
cographs on yellow paper that came to be known by the name
of the café’s proprietor, Monsieur Volpini. That gathering of
about 100 works of art by Gauguin and his fellow renegade art-
ists is now recognized as history’s first Symbolist exhibition. In
the Volpini Suite, Gauguin established the style and approach—
drawing from the mind more than from direct observation—
that came to distinguish the rest of his career.
The Cleveland Museum of Art owns a complete set of the
prints, and associate curator of drawings Heather Lemonedes
began thinking some years ago about building a small exhibi-
tion around the suite. “The prints draw on Gauguin’s travels to
the exotic locales of Martinique, Brittany, and Arles,” she notes,
“and they establish familiar motifs—such as the mourning Eve,
the woman in the waves, and fruit bearers—that continue to
show up in his work from this point forward. The seeds of his
future are here.” The small idea grew.
Lemonedes worked with the Van Gogh Museum in Amster-
dam to re-create on a smaller scale that radical independent
exhibition of 1889. The presentation will include the suite of
prints and many associated paintings and other works, a re-
creation of Monsieur Volpini’s Café des Arts, and an art ex-
ploration gallery where visitors can experiment with making
their own prints. Paul Gauguin: Paris, 1889 will be shown at the
Cleveland Museum of Art from October 4, 2009 to January 18,
2010, and will be presented at the Van Gogh Museum,
Amsterdam, from February 19 to June 6, 2010. m=
gai asis A Say Cheese
An exhibition in the new photography galleries explores
the evolution of portraiture from the 1960s onward
Iš ~
7 k
Richard Avedon (American, 1923-
2004). Ronald Fischer, Beekeeper,
Davis, California, May 9, 1981, 1981
(printed 1985). Gelatin silver print.
Leonard C. Hanna Jr. Fund 2005.143
Ever since photography’s introduction in America in 1840, por-
traiture has captured the interest of photographers and the rapt
attention of viewers. Photography made likenesses of family and
friends readily available, and portraits quickly found wide dis-
tribution in the 19th century. During the first half of the 20th
century, photographic portraiture underwent profound changes.
Depictions of the figure ranged from the aesthetic to the docu-
mentary, staged to candid, carefully conceived to spontaneous,
and straightforward to physically, politically, and psychologi-
cally charged. The first installation in the museum’s new Mark
Schwartz and Bettina Katz Photography Galleries features com-
pelling portraits from the CMA collection dating from the sec-
ond half of the 20th century onward.
Since the 1960s portraiture has been largely shaped by three
approaches: traditional presentations that explore the psychol-
ogy of the sitter (and sometimes of the artist); spontaneous
images of people in varied situations and environments; and
symbolic representations where the photographer questions
accepted notions of truth and reality by temporarily staging,
arranging, and constructing often complex scenes with people
as the protagonists.
July/August 2009 10 |
Danny Lyon (American, b. 1942).
Navajo Boy, Gallup, New Mexico,
1971. Gelatin silver print. Mr. and Mrs.
Richard W. Whitehill Art Purchase
Endowment Fund 2008.40
In the first category, Richard Avedon’s iconic Ronald Fischer,
Beekeeper, Davis, California, May 9, 1981 is one of the most mem-
orable portraits from the 775 he made for his landmark series In
the American West. Fischer, from the University of California at
Davis, brought 120,000 bees to the shoot. This perfect conflu-
ence of idea and execution resulted in a dramatic image of the
beekeeper at total peace with the mass of insects arranged in an
allover, abstract pattern on his upper body. Other photographers
in the exhibition whose work follows similar objectives include
Abe Frajndlich and Jen Davis.
Spontaneous images are represented by many artists, in-
cluding Danny Lyon, Larry Fink, and Andrea Modica. Lyon’s Carrie Mae Weems (American, b.
engaging portrait of a Navajo boy shooting pool uses the photog- 1953). Untitled (Kitchen Table Series),
rapher’s outstanding technical skills at composition and lighting 2 por tinio primee ous) Geel
: 2 į í Platinum prints and letterpress text.
to call attention to the mysterious, sometimes perilous world of purchase from the J. H. Wade Fund
spare, neighborhood pool halls and their occupants. The rigid 2008.16.20
geometric shapes of the overhead light and the pool tables, cues, ee I ai
and balls provide a sense of order to a game propelled by human — this piece on page 15, Carrie Mae
movement and emotion. Weems speaks at the museum on
More recently, photographers have deliberately played on the Wednesday, August 26, at 7:00.
potential “staginess” of the photographic medium in order to
suggest narratives or comment on the nature of reality. Major
works by Duane Michals, Cindy Sherman, Carrie Mae Weems,
Julie Blackmon, Willie Robert Middlebrook, and Elisabeth Sun-
day demonstrate the possibilities of this creative approach. The
Kitchen Table Series, a 20-print matrix with accompanying texts
by Carrie Mae Weems, depicts a series of tableaux of a woman
and her relationships with a man, a daughter, her friends, and
herself. Acquired last year, it has never been displayed before.
Photographers rely on innovation, and the advent of digital
photography has significantly advanced the diversity of available
approaches. Standards of beauty and the concept of a portrait as
an idealized likeness are constantly challenged by an expanding
interpretation of the human condition.
Visit these new galleries often. The displays change three
times throughout the year, each featuring a different theme in
the museum’s photography collection and exploring another
aspect of this rich medium. m=
11 www.clevelandart.org
Art Conversations
A series of talks and gallery tours
that bring interesting people to-
gether with our members to share
new perspectives on the east wing
and its featured art. Members only;
reservations recommended; limited
capacity. Free.
David Hart
Friday, July 10, 6:30. The assistant
professor of liberal arts at the
Cleveland Institute of Art discusses
African American artists.
ST WIN
Kathryn Wat
Sunday, July 26, 2:00. The curator at
the National Museum of Women in
the Arts presents Duchess, Dancer,
Daughter, Artist: The Modern Wom-
an in French Impressionism.
Stephen Harrison
Sunday, August 9, 2:00. The mu-
seum’s curator of decorative art and
design offers Rarely Seen Treasures
Emerge in the New Decorative Arts
Installation.
Tom Hinson
Friday, August 21, 6:30. The mu-
seum’s curator of photography
shows off the new photography gal-
leries in a talk titled Contemporary
American Portrait Photography and
the Building of a Collection.
Mark Cole
Friday, September 11, 6:30. The
museum’s associate curator of
American painting and sculpture
presents Brave New World:
American Art in the Modern Age.
One of the more famous female
faces of Impressionism: Renoir’s
Romaine Lacaux
Art Treasure Hunts
Museum staff members have cre-
ated clever, witty scavenger hunts
to take you on a self-guided tour
through the new east wing galleries,
looking at art in ways you may have
never imagined and competing for
prizes along the way. Available for
all ages during regular museum
hours. Pick up inthe lobby. Free.
Presented by |
W
National City
Now a part of È PNC
=
=—
Evenings with
Contemporary
Artists
The museum’s Womens Council
welcomes to Cleveland two re-
nowned contemporary artists repre-
sented in the museum’s collection to
share thoughts on their life’s work.
Honorary chairperson: Agnes Gund.
Reservations recommended; lim-
ited capacity. Both talks $40, CMA
members $30; individual talks $25,
CMA members $20; students with
valid ID $5.
Carrie Mae Weems
Wednesday, August 26, 7:00
Liza Lou
Sunday, September 13, 5:00
Museum photographer David
Brichford documents the installation
of Carrie Mae Weems's Kitchen Table
Series. Weems speaks at the museum
on August 26.
Jonatha and Harold Wright
Sunsational
Storytellers Series
Children and adults of all ages
will enjoy the fabulous storytellers
brought to the galleries to spin tales
using their favorite works of art
in the new east wing. Reservations
recommended; limited capacity.
Complimentary ice cream social
following each event. Free.
Jonatha and Harold Wright
Friday, July 17, 5:00 and 7:00
Saturday, July 18, 10:30 and 1:00
Sunday, July 19, 1:00 and 3:30
Tellers of traditional Japanese tales,
the Wrights will captivate audiences
of all ages in the contemporary gal-
leries near the ceramic installation
of Toshiko Takaezu’s Moon Suite.
Bil Lepp
Tall Tales and Artful Truths
Friday, July 31, 5:00 and 7:00
Saturday, August 1, 10:30 and 1:00
Sunday, August 2, 1:00 and 3:30
Don’t miss five-time national
champion liar Bil Lepp (that’s one
“1*) and museum curatorial staff
as they team up in the galleries
spinning yarns and setting straight
some of the fascinating stories
behind many of the most popular
masterpieces in our collections.
Mary Weems
Friday, August 14, 5:00 and 7:00
Saturday, August 15, 10:30 and 1:00
Sunday, August 16, 1:00 and 3:30
Cleveland’s own powerful poet,
playwright, and inspirational in-
terpreter will examine the works in
the newly installed contemporary
galleries from the 1960s looking
forward.
13
Mary Weems
Mysteries After
Dark
Friday, September 25, 6:00—9:00
College students from around the
region are invited to a special eve-
ning of amusement in the galleries,
with a lively game of mystery and
chance, food, music, and dancing.
$8 per person with valid student ID.
Art on Tap
Summer heats up for young profes-
sionals at the museum with a new
social event that puts art and mix-
ing/meeting on tap together. Enjoy
live music, gallery strolls, food, and
drink all night long. Free admission
and events all night; bars, food
stations, and parking additional.
Summertime Blues
Wednesday, July 8, 5:30-9:00
The Bare Essentials
Wednesday, August 12, 5:30-9:00
Murder Mystery at the Museum
Wednesday, September 9, 5:30-9:00
BREWING CO.
CLEVELAND, OHIO
Education programs supported by
S
The Womens Council
cB «moos
| www.clevelandart.org
JULY/AUGUST 2009
Education
Sherman Lee
Exhibition
Programs
Programming for Streams and
Mountains Without End: Asian Art
and the Legacy of Sherman E. Lee
at the Cleveland Museum of Art, on
view June 27 through August 23.
A Connoisseur's Eyes, A Scholar's
Mind: Sherman E. Lee and Chinese
Art
Wednesday, July 1, 6:30. Anita
Chung
The Conservation of East Asian
Paintings
Wednesday, July 29, 6:30. Jennifer
Perry
Streams and Mountains Without
End: Sherman Lee as a Collector and
Connoisseur
Wednesday, August 12, 6:30.
Marjorie Williams
Streams and Mountains Without End
(detail), 1100-1150. China, late North-
ern Song or Jin dynasty. Handscroll;
ink and slight color on silk. Gift of the
Hanna Fund 1953.126
July/August 2009
Asian Family
Festival Days
Creativity and fun without end!
Join us at the museum for two
afternoons of free art activities,
storytelling, music, dance, and
drum performances by members of
the Asian community of Cleveland.
Celebrating Indian and South East
Asian art and cultures
Sunday, July 19, 1:00-4:30
Celebrating Chinese, Japanese, and
Korean art and culture
Sunday, August 2, 1:00-4:00
Art in Focus
Summer Wednesdays, 1:30. Meet
near the portholes in the east wing.
Sherman Lee’s Legacy
July 1, Marjorie Williams
Sensuous Immortals: Hindu Art
July 8, Joellen DeOreo
Path to Enlightenment: Buddhist Art
July 15, Joellen DeOreo
Poetry in Pattern: Japanese Art
July 22, Marjorie Williams
Imperial Taste in Chinese Art
July 29, Marjorie Williams
Techniques in Asian Art
August 5, Kate Hoffmeyer
African American Art in Context
August 12, Caroline Goeser
“Seats Please”: French 18th-Century
Furniture
August 19, Barbara Kathman
Villas to Trash Cans: The Gilded Age
and the Ashcan School
August 26, Anne Wilson
Krishna Govardhana, 500s-600s.
Cambodia, Pre-Angkorean period,
Phnom Da style. Limestone. John L.
Severance Fund 1973.106
Ingalls Library
Collection in Focus
Limit of 20 participants for each
session; preregistration required.
$20, CMA members free
Feuillets d’Art and the Art of Pochoir
Thursday, July 2, 2:00-3:30
Pochoir, the French word for sten-
cil, is a method of coloring illustra-
tions for books, journals, and fine
art prints with lush, vibrant colors.
Sherman E. Lee
Thursday, August 6, 2:00-3:30
Join us in remembering the sen-
sational acquisitions that helped
elevate the stature of the Cleveland
Museum of Art.
Cleveland Collectors: Muriel S. and
Noah L. Butkin
Tuesday, August 11, 2:00-3:30
Informal discussions of the Cleve-
land collectors and their magnifi-
cent gifts. Limit 20; pre-registration
required. $20, CMA members free.
Research Roadshow
Wednesdays, July 29 and August 26,
2:00-3:30
Discover the hidden history of
an object in your collection. To
register, contact Matthew Gengler
at 216-707-6678 or mgengler@
clevelandart.org. $20, CMA mem-
bers free.
Except for Research Roadshow, all
reservations are through the box
office. For specific questions re-
garding Ingalls Library programs,
please call the reference desk at
216-707-2530.
Adult Programs
Class registration at the box office,
216—421-7350
There is a $10 late fee per order
beginning one week before the
class starts. Classes with insufficient
registration are canceled three days
prior to class with enrollees notified
and fully refunded.
Art and Fiction
Book Club
Peony in Love, by Lisa See
3 Thursdays, July 9-July 23, 1:30—
2:45
Set in 17th-century China, Peony
in Love is a poignant tale of love,
loss, and sorrow occurring in both
the real world and the hereafter.
This structured look at art history
through fiction and narrative non-
fiction is a collaboration between
the museum’s Ingalls Library and
the education department. $45,
CMA members $35.
Members Audit
CWRU Classes
For $200, CMA members may sit in
on these Case Western Reserve Uni-
versity art history classes. Register
through the box office, 216—421—
7350. All audit classes are held on
the CWRU campus. Classes begin
August 25 and end December 5.
Building on Antiquity
ARTH 221 T TH 10:00-11:15.
Charles Burroughs
A World Art History
ARTH 293 W 5:45-8:15. David
Carrier
Issues in Medieval Art
ARTH 350/450 T TH 2:45-4:00.
Charles Burroughs
16th-Century Italian Art
ARTH 353/453 MWF 11:30-12:20.
Edward Olszewski
Issues in 20th/21st-Century Art
ARTH 392/492 T 5:45-8:15. David
Carrier
Save the Date
ANNUAL DR. JOHN AND HELEN
COLLIS LECTURE
Visions of Byzantium: Looking at the
Recent Royal Academy Exhibition in
London and the Cleveland Museum
of Art
Sunday, September 27, 2:00
Professor Robin Cormack, Profes-
sor Emeritus in the History of Art
at the University of London and
Fellow and Research Associate of
the Courtauld Institute of Art dis-
cusses the art of Byzantium and his
recent exhibition.
Highlights Tours
Tuesday, Thursday, Friday at 1:30
Saturday, Sunday at 1:30 and 2:30
Meet near the portholes in the east
wing. A different tour each day.
Check the museum web site for the
most up-to-date list of tour guides
and topics.
Nia Coffee House
6:00-8:30, every 1st and 3rd Tues-
day at the Coventry Village Library,
1925 Coventry Rd., Cleveland
Heights, 44118. Live jazz and po-
etry. This program is intended for
adult patrons. 216-707-2486.
Art Crew
A troupe of characters based on
objects in the museum’s permanent
collection gives the CMA a touch-
able presence and vitality in the
community. Free photos of visitors
with the characters. $50 nonrefund-
able booking fee and $25/hour with
a two-hour minimum for each
character and handler. Contact
Cathy Lewis-Wright at 216-707-
2671 or clwright@clevelandart.org.
Community Arts
Around Town
Enjoy Community Arts artists and
performers throughout the sum-
mer at area events. For details see
www.clevelandart.org.
Chalk Workshop
Don’t miss the 20th annual Chalk
Festival on Saturday and Sunday,
September 12 and 13. Watch and
enjoy entertainment for free or
chalk your own pictures: large
square and 24-color box of chalk,
$16 each; small square and 12-color
box of chalk, $8 each. Drop-in
registration. Groups are requested
to preregister.
Chalk Making and Street Painting
A preparatory workshop on chalk
artistry is Sunday, August 30,
2:00-4:30 (repeats Wednesday, Sep-
tember 9, 6:00-8:30). Make chalk
using an old world recipe with new
world materials and learn profes-
sional techniques for masking,
stenciling, shading, and enlarging a
picture. $25/individual, $75/family.
Children under 15 must register
and attend with someone older.
Fee includes materials and reserves
chalk and a square for the festival.
Call 216-707-2483 or email
neisenberg@clevelandart.org.
JULY/AUGUST 2009
JULY/AUGUST 2009
Fall Adult Studios
Learn from professional artists in
small classes that ensure individual
attention. For adults. See www.
clevelandart.org or course descrip-
tions. Materials and model fees are
extra.
Drawing Figure Sculpture and
Paintings in the Galleries
10 Wednesdays, September 16—
November 18, 10:00-12:30 or
6:00-8:30. Susan Gray Bé, instruc-
tor. $225, CMA members $180.
Composition in Oil
10 Fridays, September 18—Novem-
ber 20, 10:00—12:30 or 6:00-8:30.
Susan Gray Bé, instructor. $225,
CMA members $180; supplies $60
for first-time students, $20 partial
modeling fee.
Introduction to Drawing
10 Tuesdays, September 15—
November 17, 10:00-12:30. Kate
Hoffmeyer, instructor. $225, CMA
members $180.
Printmaking
10 Wednesdays, September 16—
November 18, 6:00-8:30. Kate
Hoffmeyer, instructor. $225, CMA
members $180. This course comple-
ments the fall Gauguin exhibition.
July/August 2009
The Colors of Ink: Chinese Brush
Painting for Experienced Students
10 Tuesdays, September 15-
November 17, 1:00—3:30. Mitzi Lai,
instructor. $225, CMA members
$180.
Advanced Watercolor
10 Wednesdays, September 16-
November 18, 9:30—12:00. Commu-
nity Arts Studio, 1843 Columbus
Road. Jesse Rhinehart, instructor.
$225, CMA members $180.
Beginning Watercolor
10 Thursdays, September 17—
November 19, 9:30—12:00. Commu-
nity Arts Studio, 1843 Columbus
Road. Jesse Rhinehart, instructor.
$225, CMA members $180.
Watercolor in the Evening
10 Wednesdays, September 16—
November 18, 6:00-8:30. Commu-
nity Arts Studio, 1843 Columbus
Road. Jesse Rhinehart, instructor.
$225, CMA members $180.
Drawing
10 Wednesdays, September 16—
November 18, 1:00-3:30. Commu-
nity Arts Studio, 1843 Columbus
Road. Jesse Rhinehart, instructor.
$225, CMA members $180.
16
Summer Art
Classes for Kids
Summer classes take full advantage
of our brand-new east wing, fea-
turing the Impressionist, modern,
and contemporary art collections.
Taught by artists and art educators,
each class visits the galleries and
works on studio projects. Some
spaces may still be open; call the
box office.
Saturday sessions run 5 Saturdays,
June 27—August 1. Weekday ses-
sion are 10 weekdays, Tuesdays and
Thursdays, June 30-July 30, morn-
ings 10:00-11:30 or afternoons
1:00-2:30. Parent and Child (age 3)
mornings only, both sessions; More
Mini-Masters (ages 4—5); Hands
On! (ages 5-6); Inside/Outside (ages
6-8); Around the World (ages 8-10);
Colossal Creations (ages 10-12),
mornings only, both sessions; Print-
making (ages 10-12), afternoons
only, both sessions; Claymation
(ages 10 and up), weekday morn-
ings only. For more information,
visit www.clevelandart.org.
New Class for
Toddlers
My Very First Art Class (ages 27--37-)
3 Fridays, July 10-24, 10:00—10:45
Parents and children learn together
in a class that combines storytell-
ing, play, and art making. Session
topics are: July 10, Mobiles and
Movement; July 17, Color; and July
24, Matching and Sorting. Fees for
one parent/one child are $45, CMA
Family members $35; individual
sessions $20, Family members $15.
Limit 10 parent/child pairs.
Summer SMARTS
Tuesday-Friday, August 11-14,
1:00—4:00
Dive into the arts! Immerse your-
self in a new skill or just have fun
in this nearly weeklong session of
art making for children and teens.
Visits to the galleries each day.
Paper, Paint, and Print! (ages 6—10)
Experiment! Variety makes life and
art more interesting. We'll try pa-
permaking, painting with different
kinds of paints, and printmaking,
too.
Drawing Outside, and Inside Too
(ages 8-12)
Learn to see through the eyes of an
artist: your very own. Draw outside
from the beauty of nature. We'll
teach you how to use shading, line,
shape, and texture. In inclement
weather we'll be in the museum.
Jewelry Bazaar (ages 10-14)
In different cultures, jewelry has
been made from many materials:
glass, clay, paper, wire, just to name
a few. Learn how to make your own
necklaces, bracelets, and pins from
an assortment of these. Materials
$5.
Digital Filmmaking for Teens (ages
13-17)
Learn how to creatively use a Flip
video camera to create your own
short films with the museum’s
equipment. Limit 10. Instructor:
David Shaw. $25 additional fee.
FEES
$100, CMA Family members $80.
Extra supply fees may apply.
School and Teacher
Programs
Teachers Sizzling Summer
Workshop: Igniting Student Success
Tuesday—Thursday, August 4-6,
10:00—4:30
Learn how to infuse the arts into
core curriculum and instruction.
Workshop presenters demonstrate
how to use visual arts and visual
literacy skills to illuminate student
learning in core subjects such as
language arts and social studies.
Participate in hands-on learning
activities. Choose one graduate
credit hour or certificate of at-
tendance. Choice will determine
your cost. $50 per day for noncredit
certificate of attendance.
For more information, please visit
www.clevelandart.org or phone
216-707-6778 or 216-707-2656.
School Tours
2009-2010
School tour registration begins in
August. These docent-led tours can
be a general or specialized topic, in-
cluding our special exhibition Paul
Gauguin: Paris, 1889. Tour topics
can be found on our web site.
Tour times are Monday through
Friday starting at 10:00 until 2:30.
Paul Gauguin: Paris, 1889 tour
dates run from October 19 through
December 18.
All docent tours are free. Self-guid-
ed tours are welcome after 11:00.
Self-guided tours of Paul Gauguin:
Paris, 1889 will have a ticket fee.
A registration form is required for
all tours and can be found on our
web site under educational pro-
grams.
Direct questions to Alice Barfoot
at abarfoot@clevelandart.org or
216-707-2459.
Important: Confirmation is sent
via email.
17
Class Registration: 216-421-7350
There is a $10 late fee per order be-
ginning one week before the class
starts. Classes with insufficient
registration are canceled three days
prior to class, with enrollees notified
and fully refunded.
www.clevelandart.org
JULY/AUGUST 2009
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Film
International
Summer
A two-month spread of exceptional
international cinema, with some
special guests. Unless noted, all
films show in Morley Lecture Hall.
Note that certain admission prices
have increased. Admission to each
film is $8; CMA members, seniors
65 & over, and students $6. Film se-
ries vouchers (in books of 10) now
cost $60, CMA members $50.
Guest of Cindy Sherman
Wednesday, July 1, 7:00
Directed by Paul H-O (Hasegawa-
Overacker) and Tom Donahue,
with Cindy Sherman, John Waters,
Eric Fischl, et al. This nonfiction
film chronicles how the host of a
New York City cable access show
became the boyfriend of famed
photographer Cindy Sherman—
until he could no longer stomach
being an anonymous appendage to
a celebrity superstar. (USA, 2008,
color, DVD, 88 min.)
Explicit Ills
Friday, July 3, 7:00
Directed by Mark Webber, with Ro-
sario Dawson, Paul Dano, and Lou
Taylor Pucci. In this all-star indie
drama executive-produced by Jim
Jarmusch, a starving artist, a strug-
gling actor, and a single mother
all living in the same Philadelphia
neighborhood come together to
fight urban poverty. Cleveland
premiere. (USA, 2008, color, DVD,
87 min.)
Perestroika
July/August 2009
Carmen & Geoffrey
Wednesday, July 8, 7:00
Directed by Linda Atkinson and
Nick Doob. This film pays loving
tribute to the five-decade marriage
and creative partnership of re-
nowned modern dancers/choreog-
raphers/actors Carmen de Lavallade
and Geoffrey Holder. Includes stun-
ning archival performance footage.
Cleveland premiere. (USA, 2005,
color/b&w, Beta SP, 80 min.)
Severed Ways: The Norse Discovery
of America
Friday, July 10, 7:00
Directed by Tony Stone, with Stone.
This ambitious (and frequently
graphic) independent film is set a
thousand years ago on the North
American mainland, where two
stranded Vikings in the wilder-
ness struggle to survive until they
can reunite with their tribe. Adults
only! Cleveland premiere. (USA,
2007, color, subtitles, DVD, 107
min.)
Nursery University
Wednesday, July 15, 5:15 and 7:15
Directed by Marc H. Simon and
Matthew Makar. Upper-crust Man-
hattan parents frantically try to
enroll their kids in New York’s most
elite private preschools in this wry,
eye-opening new documentary.
“A Spellbound in training pants...
Handled with good humor and hu-
manity” —Daily Variety. Cleveland
premiere. (USA, 2008, color, DVD,
90 min.) Recital hall.
18
The Lost Son of Havana
Wednesday, July 15, 7:00
Directed by Jonathan Hock. Thirty-
six years after leaving Havana to
play for the Cleveland Indians,
legendary pitcher Luis Tiant returns
for the first time to his native Cuba.
This moving new documentary
captures his bittersweet homecom-
The Lost Son of Havana
ing. “Quietly powerful, genuinely
heartfelt” —Hollywood Reporter.
Cleveland premiere. (USA, 2009,
color, subtitles, Digibeta, 102 min.)
Screening courtesy of Hock Films.
Perestroika
Friday, July 17, 7:00
Directed by Slava Tsukerman, with
F. Murray Abraham, Sam Robards,
and Ally Sheedy. The singular new
film from the director of the cult
hit Liquid Sky is a heady mix of
documentary and fiction, politics
and science, flashbacks and present-
tense. The movie revolves around
the musings of a Russian astrophys-
icist who, after living in the U.S.
for 17 years, returns to Moscow
in 1992, during the collapse of the
Soviet Union. “Touchingly funny,
visually arresting and a consistent
joy to watch" —Variety. Cleveland
premiere. (USA, 2009, color, Beta
SP, 97 min.)
SPECIAL ADVANCE SCREENING!
Séraphine
Wednesday, July 22, 6:30
Directed by Martin Provost, with
Yolande Moreau. Be among the
first to see the most lauded French
film of the year! Winner of seven
2009 César Awards (France’s Os-
cars) including Best Film, Actress,
and Original Screenplay, Séraphine
dramatizes the life of Séraphine
Louis (1864-1942), a shepherd-
ak i
Sėraphine
ess, servant, and self-taught artist
who found fleeting fame as the
French naive painter now known
as Séraphine de Senlis. Cleveland
premiere. (France/Belgium, 2008,
color, subtitles, 35mm, 125 min.)
No passes. Screening courtesy of Mu-
sic Box Films; movie opens later this
summer at the Cedar Lee Theatre.
Burma VJ
Friday, July 24, 7:00
Directed by Anders Ostergaard.
The 2007 uprising in Myanmar, in
which 100,000 people (including
thousands of Buddhist monks)
took to the streets to protest the
country’s repressive regime, is
seen via video footage shot sur-
reptitiously by Democratic Voice
of Burma, a collective of 30 inde-
pendent, underground, anonymous
video journalists (VJs). Cleveland
premiere. (Denmark, 2008, color,
subtitles, DVD, 84 min.)
The Country Teacher
Wednesday, July 29, 6:45
Friday, July 31, 6:45
Directed by Bohdan Sláma. In this
sweet, life-affirming drama, a book-
ish young Czech man who has left
Prague to teach natural science at
a rural school tries to hide his ho-
mosexuality from the locals. A New
York Times Critics’ Pick. Cleveland
premiere. (Czech Republic/France/
Germany, 2008, color, subtitles,
35mm, 117 min.)
Carry It On
Wednesday, August 5, 7:00
Directed by James Coyne, with Joan
Baez. Long out of theatrical release,
this music-filled, late- 1960s time
capsule captures singer Joan Baez
and her then-husband, peace activ-
ist David Harris, at the time of his
arrest for dodging the draft. (USA,
1970, b&w, Beta SP, 80 min.)
Hausu (House)
Friday, August 7, 7:00
Directed by Nobuhiko Obayashi.
This unique, crazy, and stylish hor-
ror comedy (a mostly unknown-in-
America underground hit that is just
now surfacing) tells of seven Japa-
nese high-school girls who vacation
at a creepy, secluded old house be-
longing to the aunt of one of them,
where lurk some very unpleasant
surprises. Adults only! (Japan, 1977,
color, subtitles, Beta SP, 87 min.)
Empty Nest
Wednesday, August 12, 7:00
Friday, August 14, 7:00
Directed by Daniel Burman. When
the last of their three children
45365
moves away, a long-married hus-
band and wife confront “empty nest
syndrome” in different ways—she
through hyperactivity, he through
vivid fantasies. Cleveland premiere.
(Argentina/Spain/France/ltaly,
2008, color, subtitles, 35mm, 91
min.)
FILMMAKERS IN PERSON!
45365
Wednesday, August 19, 6:45
Directed by Bill Ross IV and Turner
Ross. Winner of the award for Best
Documentary Feature at the 2009
SXSW Film Festival, this new movie
by two former Buckeyes lovingly
chronicles small-town life in Sidney,
Ohio. Brothers Bill and Turner Ross
answer questions after the screening.
Cleveland premiere. (USA, 2009,
color, Beta SP, 90 min.)
Kabei: Our Mother
Friday, August 21, 6:30
Sunday, August 23, 1:30
Directed by Yoji Yamada, with
Tadanobu Asano. The 80th film by
the veteran director of the beloved
Tora-san series is a moving drama
about a Tokyo wife who spends
WWII struggling to raise her two
daughters after her dissident hus-
band is arrested and taken away.
A touching tribute to mother-
hood. (Japan, 2008, color, subtitles,
35mm, 133 min.)
STAR AND FILMMAKER IN
PERSON!
Night Music: The Art of P. Craig
Russell
Wednesday, August 26, 7:00
Directed by Wayne Alan Harold.
This new documentary profiles
Kent-based illustrator and writer P.
Craig Russell, one of the most cel-
ebrated comic book artists working
today, acclaimed for his early Mar-
vel work, his graphic novel adapta-
Empty Nest
tion of Neil Gaiman’s Coraline, and
his adaptations of famous operas.
Russell and filmmaker Wayne Alan
Harold will appear in person to in-
troduce and answer questions after
the movie. (USA, 2008, color/b&w,
DVD, 80 min.)
Laila’s Birthday
Friday, August 28, 7:00
Sunday, August 30, 1:30
Directed by Rashid Masharawi,
with Mohamed Bakri. This affect-
ing comedy follows a Ramallah cab
P. Craig Russell in Night Music
19
driver during the course of one day.
Asked by his wife to buy a present
and a cake for his daughter’s sev-
enth birthday, he finds this simple
task complicated by the chaos and
indignities of living in the occupied
West Bank. “A brilliant fusion of
road movie, family drama, cinema
of the absurd, and sociological ex-
posé” —Screen International. Cleve-
land premiere. (Palestine/Tunisia/
Netherlands, 2008, color, subtitles,
Beta SP, 71 min.)
www.clevelandart.org
JULY/AUGUST 2009
VIVA! & Gala
Around Town
Witness the World
Sneak Peek at VIVA! X Gala 2009-—
2010
“Applause to VIVA! International
artists of exceptional quality.” —The
Plain Dealer
Next season features master per-
formers from 11 countries in
performances that are at once
entertaining and enlightening.
Several programs are related to two
upcoming exhibitions and offer a
deeper context for both the music
and visual art. Three programs
explore themes of the artist as
itinerant, complementing the ex-
hibition Paul Gauguin: Paris, 1889:
the Narasirato Pan Pipers of the
Solomon Islands, Stephen Scott’s
Bowed Piano Ensemble, and Evan
Ziporyn and Gamelan Galak Tika.
Inuit throat-singer Tanya Tagaq
performs in conjunction with Arts
of the American Indians: The Thaw
Collection. Also, this coming season
is marked by a milestone: the re-
opening of Gartner Auditorium in
March 2010.
July/August 2009
Full series details to be announced
soon, so watch your mailboxes for
season brochures. Remember, sub-
scribers receive savings and priority
by having the first opportunity to
secure the best seats, but concerts
are expected to sell out, so be sure
to send in your orders early!
New subscriptions on sale to CMA
members beginning July 28, and to
the general public August 11. Visit
clevelandart.org/viva for the most
up-to-date info.
Top and below: Shaolin Warriors
and the Narasirato Pan Pipers of
the Solomon Islands
What to Expect
Follow the Art Detour from the
north lobby and parking garage to
get to the open galleries.
Cafė and store in north lobby area
The museum cafė, with a revised
menu of convenient options, is in
a new space, just to the left as one
enters the north lobby. The store
is in a temporary site next to the
elevators in the north lobby.
East wing open
The permanent collection galler-
ies of the east wing (19th-century
European art, Impressionism, mod-
ernism, and contemporary art, plus
photography and prints and draw-
ings) opened June 20 with a special
party, followed by a week of mem-
ber preview days and the official
public opening June 27.
Textile Art Alliance
Lecture: Fiber/Encaustic Connection
Friday, September 25, 7:00
An an artist, Lorraine Glessner, of
the Tyler School of Art in Philadel-
phia, explores the complex inter-
relation of materials collaged in
encaustic. Her works are uplifting,
fanciful, rich in color and details
that challenge the imagination.
Lecture free to TAA members and
full-time students; $5 at the door
for general public. For information
contact kerrin.art@gmail.com or
call 216-752-9654.
Workshop: Exploring the Fiber/
Encaustic Connection with Lorraine
Glessner
Friday and Saturday, September
25-26, 10:00—4:00
This workshop introduces par-
ticipants to the basics of encaustic
painting as well as a variety of
advanced techniques. Covers use of
equipment, safety issues, tools, and
techniques to create texture, surface
manipulation, and collage. All skill
levels. $240, TAA members $180
($150 by August 25); supplies $35.
For info contact kerrin.art@
gmail.com or call 216-752-9654.
Parking: Use the tunnel
All museum parking is consolidated
in the expanded garage, acces-
sible by way of Jeptha Drive at the
northeast corner of the museum
(down the hill to the right as one
faces the striped Breuer building).
You can enter the museum from
the garage without going outside.
Summer Wines
Wednesday, July 15, 6:30
Combine art and wine for an
enjoyable evening. Visit our web
site for more information and to
buy tickets. Deadline July 13.
The renovation of Gartner Audi-
torium necessitates creating a
fenced staging area between the
north entrance and the top level
of the parking garage for about
one year, but this should not
significantly disrupt visitor access.
Gartner is scheduled to reopen
next winter.
Day Trip to See
Wright Buildings
Fallingwater and Kentuck Knob Trip
for Members is October 15
Join us for a relaxing day trip to
view the architectural masterpieces
of Frank Lloyd Wright: Falling-
water and Kentuck Knob. Stephen
Harrison, curator of decorative
art and design, will accompany
the group. Upon arrival we will be
greeted with lunch at the Historic
Stone House Restaurant, located in
Pennsylvania’s scenic Laurel Moun-
tains. The day will continue with
docent-led tours of both homes in
the afternoon, with time provided
for a stroll amid the autumn foliage
on the grounds. We'll be treated to
a light boxed dinner from the Fall-
ingwater Café to enjoy on the bus
ride home.
Please RSVP by September 1 by
calling Meghan Olis at 216—707—
2266. Keep in mind that these tours
fill up fast! Limited to 45 partici-
pants.
Your day includes private motor
coach transportation, breakfast pas-
tries/beverages, admissions/tours,
lunch, dinner, free parking at CMA
garage, tax, and gratuity.
Visit/Contact Info
Museum Hours
Tuesday, Thursday, Saturday,
Sunday 10:00-5:00
Wednesday, Friday
10:00-9:00
Closed Monday
Administrative Telephones
216-421-7340
1-877-262-4748
Web Site
www.clevelandart.org
Box Office
216-421-7350 or
1-888-CMA-0033
Fax 216-707-6659
Nonrefundable service fees apply
for phone and internet orders.
Membership
216-707-2268
membership@clevelandart.org
Museum Store
216-707-2333
Special Events
216-707-2141
Ingalls Library Hours
Tuesday-Friday 10:00-5:00
Wednesday until 9:00 beginning
September 7. Reference desk:
216-707-2530
Parking Garage
$5 for 15 minutes to 2.5 hours;
$1 per 30 minutes thereafter to $10
max. $5 after 5:00
cuyahoga
arts & culture
A STATE AGENCY
THAT SUPPORTS PUBLIC
PROGRAMS IN THE ARTS
Magazine Staff
Editing: Laurence Channing,
Gregory M. Donley, Kathleen Mills
Design: Thomas H. Barnard Ill,
Gregory M. Donley
Photography: Howard T. Agriesti,
David Brichford, Gregory M. Donley,
Gary Kirchenbauer
Digital scanning: David Brichford
Production: Charles Szabla
Questions? Comments?
magazine@clevelandart.org
July 2009
§ Admission fee R Reservation required
MON closed
T Ticket required
TUE 10—5
Art in Focus 1:30 Sher-
man Lee’s Legacy.
Marjorie Williams
Lecture 6:30 A Connois-
seur’s Eyes, A Scholar’s
Mind. Anita Chung
Film 7:00 Guest of
Cindy Sherman $
Highlights Tour 1:30
Library Program 2:00
Collection in Focus RT
FRI 10-9
Highlights Tour 1:30
Film 7:00 Explicit Ills $
4
Museum Closed
5 6 7 8
Highlights Tours 1:30 Museum Closed Highlights Tour 1:30 Art in Focus 1:30 Hindu
and 2:30 Art. Joellen DeOreo
Film 7:00 Carmen &
Geoffrey $
Art on Tap 5:30-9:00
Summertime Blues
Nia Coffee House
6:00-8:30 Coventry
Village Library
Highlights Tour 1:30
Art and Fiction Book
Club Begins 1:30 Peony
in Love by Lisa See R$
My Very First Art Class
10:00 R$
Highlights Tour 1:30
Art Conversation 6:30
David Hart
Film 7:00 Severed
Ways $
Highlights Tours 1:30
and 2:30
12 13 14 15
Highlights Tours 1:30 Museum Closed Highlights Tour 1:30
Art in Focus 1:30
and 2:30
Buddhist Art. Joellen
DeOreo
Film 5:15 and 7:15 Nurs-
ery University $
Wine Tasting 6:30
Summer Wines §
Film 7:00 The Lost Son
of Havana $
16
Highlights Tour 1:30
17
Storytelling 5:00 and
7:00
Highlights Tour 1:30
Film 7:00 Perestroika $
18
Storytelling 10:30 and
1:00
Highlights Tours 1:30
and 2:30
19 20 21 22
Asian Family Festival Museum Closed Highlights Tour 1:30 Art in Focus 1:30 Poetry
1:00-4:00 in Pattern: Japanese
Art. Marjorie Williams
Film 6:30 Séraphine §
Nia Coffee House
Storytelling 1:00 and 6:00-8:30 Coventry
3:30 Village Library
Highlights Tours 1:30
and 2:30
Highlights Tour 1:30
24
Highlights Tour 1:30
Film 7:00 Burma VJ §
Highlights Tours 1:30
and 2:30
26 27 28 29
Highlights Tours 1:30 Highlights Tour 1:30 Art in Focus 1:30 /mpe-
and 2:30 rial Taste in Chinese Art
Museum Closed
Library Program 2:00
Research Roadshow RT
Art Conversation 2:00
Kathryn Wat
Lecture 6:30 The Con-
servation of East Asian
Paintings. Jennifer
Perry
Film 6:45 The Country
Teacher §
Highlights Tour 1:30
Highlights Tour 1:30
Storytelling 5:00 and
7:00
Film 6:45 The Country
Teacher $
Severed Ways
August 2009
$ Admission fee
R Reservation reguired
MON closed
T Ticket reguired
TUE 10-5
THU
For full details about
Ingalls Library
programs, visit
library.clevelandart.org
SAT 10-5
Asian Family Festival
1:00-4:00
Storytelling 1:00 and
3:30
Highlights Tours 1:30
and 2:30
Highlights Tours 1:30
and 2:30
Art Conversation 2:00
Stephen Harrison
16
Storytelling 1:00 and
3:30
Highlights Tours 1:30
and 2:30
23
Highlights Tours 1:30
and 2:30
Film 1:30 Kabei: Our
Mother $
30
Highlights Tours 1:30
and 2:30
Film 1:30 Laila’s Birth-
day $
Chalk Workshop 2:00-
4:30 Chalk Making and
Street Painting (repeats
Sep 9) $
3
Museum Closed
10
Museum Closed
17
Museum Closed
24
Museum Closed
4
Teacher Workshop Day
10:00-4:30 RS
Highlights Tour 1:30
Nia Coffee House
6:00-8:30 Coventry
Village Library
Summer SmARTS be-
gins 1:00-4:00 R$
Highlights Tour 1:30
Library Program 2:00
Cleveland Collectors RT
18
Highlights Tour 1:30
Nia Coffee House
6:00-8:30 Coventry
Village Library
25
Highlights Tour 1:30
Teacher Workshop Day
10:00-4:30 R$
Art in Focus 1:30 Tech-
niques in Asian Art
Film 7:00 Carry It On $
12
Art in Focus 1:30 African
American Art in Focus
Art on Tap 5:30-9:00
The Bare Essentials
Lecture 6:30 Sherman
Lee as a Collector and
Connoisseur. Marjorie
Williams
Film 7:00 Empty Nest $
Art in Focus 1:30 French
18th-Century Furniture.
Barbara Kathman
Film 6:45 45365 $
Art in Focus 1:30 The
Gilded Age and Ashcan
School. Anne Wilson
Library Program 2:00
Research Roadshow RT
Film 7:00 Night Music:
The Art of P. Craig
Russell $
Artist Lecture 7:00
Carrie Mae Weems $
Teacher Workshop Day
10:00-4:30 RS
Highlights Tour 1:30
Library Program 2:00
Collection in Focus RT
13
Highlights Tour 1:30
20
Highlights Tour 1:30
27
Highlights Tour 1:30
7
Highlights Tour 1:30
Film 7:00 Hausu
(House) $
14
Highlights Tour 1:30
Storytelling 5:00 and
7:00
Film 7:00 Empty Nest $
21
Highlights Tour 1:30
Art Conversation 6:30
Tom Hinson
Film 6:30 Kabei: Our
Mother §
28
Highlights Tour 1:30
Film 7:00 Laila’s
Birthday $
Storytelling 10:30 and
1:00
Highlights Tours 1:30
and 2:30
Highlights Tours 1:30
and 2:30
Storytelling 10:30 and
1:00
Highlights Tours 1:30
and 2:30
22
Highlights Tours 1:30
and 2:30
Highlights Tours 1:30
and 2:30
Ganesha, c. 1070.
South India, Medi-
eval period, Chola
dynasty. Bronze. Gift
of Katharine Holden
Thayer 1970.62
JULY/AUGUST 2009
=
||||
THE CLEVELAND
MUSEUM OF ART
11150 East Boulevard
Cleveland, Ohio 44106-1797
Dated Material
Do Not Delay
Special Exhibitions
Streams and Mountains Without End:
Asian Art and the Legacy of Sherman
E. Lee at the Cleveland Museum of Art
June 27—August 23
The legacy of the great director as
seen through major works of Asian
art he acquired during his 25-year
tenure at the helm of the CMA.
Made possible by Hahn Loeser + Parks LLP.
Support for education and public programs has
been provided by the Womens Council of the
Cleveland Museum of Art.
HAHN @2LOESER
Collection
Exhibitions
Portraiture in Photography
Through September 13. Highlights
of formal, informal, and experi-
mental portraiture from the mid
20th century onward.
Toshiko Takaezu
Through May 2010. Large-scale
ceramics.
Cleveland School Artists
Through May 2010. Works by ma-
jor figures of the regional art scene
beginning around 1900.
Touring Exhibitions
Art and Power in the Central African
Savanna
June 20-October 11. Fine Arts
Museums of San Francisco, de
Young Museum
Icons of American Photography
October 3, 2009 to January 3, 2010.
Frick Art & Historical Museum,
Pittsburgh
Collection Loans
See works from the Cleveland collec-
tion in exhibitions worldwide
National
Paul Outerbridge: Command Per-
formance, J. Paul Getty Museum of
Art, Los Angeles, through August 9.
The CMA has wonderful holdings of
modern photographs and is a sig-
nificant lender to this show.
Asian Journeys: Collecting Art in
Post-war America, Asia Society Mu-
seum, New York, through August 9.
The CMA was an early leader among
American museums collecting Asian
art, as seen in this show.
Titian, Tintoretto, Veronese: Rivals in
Renaissance Venice, Museum of Fine
Arts, Boston, through August 16
and Musée du Louvre, Paris, Sep-
tember 14, 2009-January 4, 2010.
Major Italian masters standing
toe-to-toe thanks to international
lenders including the CMA.
Fabergé Loans, Cheekwood Muse-
um of Art, Nashville, through June
30. The CMA collection of works
by Fabergé is among the nation’s
finest and often in demand; this
display features a number of frames
lent by the CMA.
Periodicals
postage paid at
Cleveland, Ohio
International
From Raphael to Carracci: The Art
of Papal Rome, National Gallery of
Canada, Ottawa, through Septem-
ber 6. One of a select few works by
Michelangelo in North America,
the CMA’s drawing is a highlight of
this exhibition. |
COVER: Fukutomi Zoshi (detail),
1400s. Japan, Kamakura period
(185-1333). Handscroll; ink and color
on paper. John L. Severance Fund
1953.358
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